Antoine Catala

Emobot
Catala’s work investigate emotions and empathy in our technological information-driven society. His computer generated Emobot appears at once familiar and strange as it utters simple statement about its feelings. The visually mesmerizing figure might serve as an avatar onto which we relate to the expression of strong feelings when they are delivered digitally-an increasing prevalent cultural phenomena. Listening to a not-quite human presence express its vulnerability may have less impact in us than hearing a real person communicate similar emotions. Nevertheless, the deliberate and repetitive manner in which Emobot articulates powerful sentiments affords us ample opportunity to reflect on the existential quality of their meaning.

Daniel Rozin

Troll Mirror
The mechanical mirrors are made of various materials but share the same behavior and interaction; any person standing in front of one of these pieces is instantly reflected on its surface. The mechanical mirrors all have video cameras, motors and computers on board and produce a soothing sound as the viewer interacts with them. Troll Mirror was commisioned by Traget and is made of pairs of pink and blue troll dolls. Every troll doll pair can rotate so that the pink or blue troll face the front. The result is a colorfull reflection of the viewer’s outline and playfull colorfull transitions

Tezi Gabunia

Breaking News: Flooding of the Louvre
Natural disaster increasingly linked to a climate change has arrived to the museum of Louvre, which responds to the flooding of Paris in 2018. The artwork also respresents the issue of cultural leftover. Recycling is the main value of the process. By destruction of model that was a part of previous project Put Your Head into Gallery, the leftovers are reconstructed and new meanings and possibilities are created. The flooding of the Louvre Museum speaks about news culture and our fluctuating perception of disasters as it is seen through media. The scale of the disaster is often difficult to assess from news coverage. In the work “Breaking News” flood goes slowly into the room of the Louvre, letting the viewer to gradually watch the destruction of interior. it brings the viewer shochinkly close to what has not happened but easily could have, viewer sees the before and after effect in a highly visualized manner, which is as convincing and threatening, as fake.

Emmanuel Van Der Auwera

Videosculpture XXI
Van der Auwera’s VideoSculptures take a new position to explore the intersections of digital and physical life and how the filtering of images in production, dissemination, and digestion alter both individual perception and consensual experience. Using the screen as sculptural material, these works break images out of the frame in a low-tech manner. They start with an act of destruction as the artist literally takes a knife to a screen to carve away physical layers. Unbeknown to most, these layers are filters that are adhered to every LCD screen. Without the mediation of these filters, images become impossible to see with the naked eye and white noise fills the space.

FONG QI WEI

Flypast Sunset
“In this series of animated artworks, which are essentially slowed down versions of the series Time in Motion, I invite you to experience the passage of moments across a landscape. Perhaps understanding that even though all moments are transient, all moments are equally worthy of our respect because they are parts of a larger whole. Each Time Loop is made manually. I captured every moment across a sunset or sunrise using a digital camera, and manually stitched these moments into Time Paintings. Finally, different sequential time paintings were put together to create a sense of motion  almost imperceptible in some of the works, in the manner of clouds drifting across a sky.” Fong Qi Wei

KURT HENTSCHLAGER

Zee
File Festival 

Immersive Audiovisual Environment Artificial Fog, Stroboscopes, Pulse Lights and Surround Sound, 2008

ZEE proposes a state of tabula rasa and unfolds without a narrative or reproducible imagery.The audience wanders freely in a space filled with extremely dense fog that fully obscures all of its boundaries. Stroboscopic- and pulse lights illuminate the fog, in a softened and evenly dispersed manner, creating kaleidoscopic three-dimensional structures in constant animation. An ambient and minimal sound-scape connects to the imagery, without directly synchronizing to it.The core visual impression of ZEE is of a psychedelic architecture of pure light, an abstract luminescent landscape enveloping the visitor. Time appears to stand still.

Katharina Fritsch

Zwei Männer / Two Men
Katharina Fritsch ist eine zeitgenössische deutsche Bildhauerin. Ihre Arbeit mischt Realität mit Vorstellungskraft, um surreale Bilder zu schaffen, die durch ihre großformatigen monochromatischen Skulpturen von Tieren, Menschen und Objekten Realität und Fantasie zusammenziehen. Von ihrer hellen Palette hat sie bemerkt, dass Farbe „es ausgleicht, es abstrakt macht – wie ein visuelles Zeichen, eine Ikone. Das ist wichtig: Meine Arbeit befindet sich immer an der Grenze zwischen einer detaillierten Skulptur und einem Schild. “ Fritschs Werk wird oft als unheimlich beschrieben. Es enthält leichte Repräsentationsverschiebungen, die die Wahrnehmung der Realität durch den Betrachter verändern und die gefälschte Nachahmung des Lebens durch das Werk hervorheben.

Claudia Hart

The Swing

In The Swing, a 3D game avatar becomes Rococo fleshy decadence. In this multi-screen animation, the avatar swings on a seat suspended from the sky, in super Mannerist slow time. Her wooded surroundings ebb and flow at different rate, imitating stop-motion. Years pass in a matter of moments. The avatar is the driver of all of these cycles, but a driver scarcely in control – she is instead, a Mother Nature heading straight for what she suspects might be oblivion. The Swing is a multi channel installation, in nine, five and three screen versions.

sound: Kurt Hentschlager

Heiner Goebbels and Alfred Harth

At last I am free
The Duo Goebbels/Harth (1975–1988), combining German composer, music-theatre director and keyboardist Heiner Goebbels and German composer, multi-media artist and saxophonist Alfred 23 Harth became famous for its adaptation of and departure from European composers, especially Hanns Eisler, implemented in a provocatively fresh manner into structured free improvisations and deploying content from areas beyond music. The duo was nicknamed the “Eisler brothers” by music critic W.Liefland. They later also experimented with different genres and sound collages, including electronic devices. The duo played in many international festivals and concerts in cities as diverse as Tel Aviv, Zagreb, West and East Berlin and South America.

Oliver Laric

2000 Cliparts

Oliver Laric’s work seeks to parse the productive potential of the copy, the bootleg, and the remix, and examine their role in the formation of both historic and contemporary image cultures. This process is intimately tied to his intuitive, idiosyncratic brand of scholarship, which he presents through an ongoing series of fugue-like expository videos (Versions, 2009—present), and further elaborates through his appropriated object works, videos, and sculptures, all of which are densely conceptually layered and often make use of recondite, technologically sophisticated methods of fabrication. Straddling the liminal spaces between the past and the present, the authentic and the inauthentic, the original and its subsequent reflections and reconfigurations, Laric’s work collapses categories and blurs boundaries in a manner that calls into question their very existence.

Christian Mio Loclair

Pow2045

Helle Strahlen durchschneiden den Raum und ersetzen die völlige Dunkelheit. Sie leuchten in bedrohlichem Weiß, wenn sie mit mathematischer Präzision bis zur Decke reichen. Zwei Männer betreten den Raum, während Scanmatrizen ihren Körper wahrnehmen. Sie werden in ihre Bestandteile zerlegt, neu angeordnet und vom Licht manipuliert, bis sie beschließen, die Diktatur der Maschine zu brechen und nichts mehr zu finden – außer sich selbst. Pow ist ein Stück der städtischen Choreografen Raphael Hillebrand und Christian Mio Loclair. Es kombiniert interdisziplinäres Fachwissen, das von computergenerierter Kunst und wissenschaftlicher Mensch-Computer-Interaktion bis hin zu urbaner Choreografie reicht.

Karlheinz Stockhausen

卡尔海因茨·施托克豪森
칼 하인츠 슈톡 하우젠
カールハインツ·シュトックハウゼン
Карлхайнц Штокхаузен
Luzifers
img:william blake

SAMSTAG (Samstag) ist der Tag von LUCIFER, der Tag des Todes (und der Auferstehung), sowie die Nacht des Übergangs zum LICHT. LUZIFER’S ABSCHIED, die “Farewell” -Szene von SAMSTAG, findet in der Kirche sowohl im Innen- als auch im Außenhof statt. Ein Männerchor in zwei Spalten um das Publikum intoniert den „Franziskus von Assisi“ „Lodi delle Virtù“ (Hymne an die Tugenden). LUCIFER unterbricht als „Diabolical Wind Player“, der Posaune spielt, abrupt das Verfahren und verursacht Chaos. Schließlich kommt ein Sack vom Himmel (gefüllt mit Kokosnüssen) an. Die Männer feilen draußen und lassen einen wilden Vogel frei. Dann bewegen sie sich zu einer Steinplatte und beginnen, Kokosnüsse darauf zu zerschlagen (Albrecht Moritz bemerkt in seiner ausgezeichneten Rezension, dass dieses Element von Stockhausens Erfahrungen bei einem religiösen Festival in Kataragama in Ceylon inspiriert wurde). Schließlich gehen sie in einer Prozession mit humorvollen Tanzschritten und intonieren die „Hymne an die Tugenden…“.

CRAIG GREEN

克雷格·格林
크레이그 그린
קרייג גרין
クレイグ・グリーン
Крейг Грин
MAN 2013

Die kultischen Runway-Prozessionen von Green, die sich mit Konzepten von Uniform und Nützlichkeit befassen, sind zu einem mit Spannung erwarteten Bestandteil des Männerkalenders geworden. Obwohl seine Kollektionen für ihre dramatischen und zutiefst emotionalen Qualitäten bekannt sind, sind sie fest in der stetigen Entwicklung einfacher, aber streng überlegter Kleidungsstücke wie der Worker Jacket verwurzelt.